Friday & Saturday, April 12 & 13, 2013 7:30 pm
Packard Hall
Produced and Adapted by Daniel Fosha
Directed by Daniel Fosha, Daniel Brink, and Lynn Holladay Blue Monday
Text by Music by Piano Arrangement by B.G. DeSylva George Gershwin George Bassman
The action takes place in Harlem, New York City, sometime before 1939.
Cast of Characters (in order of appearance)
Sam Evan Sauvage Ray Raquel Vasquez Sweetpea Ariane Beckman Bess Zuri Randell Vi Sarah Hupper Jo Rebecca Lehman Bess’s Groupies Allyson Moore Mariah Weaver Cabaret Patrons Grady Leask Suzannah Mikol Eun Jeon Guitarist Patrick Hardy
Cast members are voice students of Daniel Fosha, Ann Brink, Judeth Shay Burns, and Victoria Hansen
Musical Numbers Music and lyrics by George and Ira Gershwin, unless otherwise noted
Summertime, from Porgy and Bess (1935), lyrics by Dubose Heyward Sweetpea But Not for Me, from Girl Crazy (1930) Ray Embraceable You, from East is West (1928), Girl Crazy (1930) Bess A Foggy Day, from A Damsel in Distress (1937) Jo Bidin’ My Time, from Girl Crazy (1930) Sam The Man I Love, from Lady Be Good (1924) Sweetpea St. Louis Blues (1914), written by W.C. Handy Bess Prove it On Me Blues (1928), written by Gertrude ‘Ma’ Rainey Bess If You’re a Viper (1936), written by Stuff Smith Bess Mine, from Let Them Eat Cake (1933) Jo, Vi, Ray Soon, from Strike Up the Band (1927) Vi
Production Staff
Stage Direction Daniel Fosha, Lynn Holladay Music Director and Pianist Daniel Brink Stage Manager/Props Ellen Levish Lighting Daniel Fosha, Ellen Levish Costumes Jan Avramov Choreographer Lynn Holladay Hair and Makeup Caroline Margolies
Director’s Notes
Blue Monday comes from the early stages of George Gershwin's career. It reflects, both musically and dramatically, the musical styles that Gershwin was exposed to in the musical milieu of New York City in the 1920s. In it we see and hear strains of grand opera, notably the prologue from Pagliacci or the tragic, grandiose ending of Cavalleria Rusticana, where a love story, either willfully or through a misunderstanding, ends terribly, accompanied by sweeping strings and bombastic brass. We hear the early blues and ragtime, as the "Great Migration" was underway, bringing African-rooted musical styles from the south to the cities of north. And these styles are woven together in a tapestry of the work of a classically trained composer, already showing the ambition to move from a piece work song writer to a masterful composer comfortable showing his work in grand concert halls. Blue Monday was to be part of vaudeville revue, Scandals, and may have been inspired by a successful piece called Shuffle Along, an all-black musical written by Eubie Blake and Noble Sissle. Notably, Paul Whiteman was brought it in to conduct the orchestra. It would quite difficult to repeat the original work as it was performed in 1922, and so I have made numerous changes to make it work in the production environment here at Colorado College. For this show, we have largely left Gershwin's score intact, but changed some of the original lyrics that are no longer appropriate. We have inserted numerous musical numbers from Gershwin's other shows that would expand on the characters and yet fit the dramatic current, as well as showcase the singers we have. In order to expand the “slice of life” dramatic viewpoint, we added some musical pieces that were in circulation in New York City clubs at the time to lend an atmosphere of a Harlem speakeasy club, evoking the spirit of some of the era’s most celebrated performers, such as Ma Rainey. Harlem clubs in the 1920s and 1930s were a place of great cultural energy. They featured the newest music, illegal alcohol and drugs, and fluid sexuality. People on the margins of the mainstream culture found a place where they were not excluded. Because of that energy, those who lived more respectable lives in downtown New York often became cultural tourists, going to where the action was. Celebrities were a common sight as well. To that effect, I have combined the talent at the college with this spirit, and have changed some of the genders and sexual preferences of the characters from the original piece. Like any artistic project, it is never quite done, and never perfect. Revisions are made up until the last minute. But the freedom to create and experiment is, for all artists, the energy that blossoms into complete failures and smashing successes and everything in between. And so, to that end we offer you this version of George Gershwin's Blue Monday Acknowledgements
Paul Martin, Drama/Dance Department; Ann Brink and Victoria Hansen, Music Department; Neil Hesse, Music Department; Cathe Bailie, Music Department; Stormy Burns, Music Department; Tom Taylor, Music Department; Dan Wiencek, Audio/Visual Department; Todd Teske Piano Tuning and Services
Upcoming Events in the CC Music Department Unless otherwise noted, all concerts are in Packard Hall, are free, and open to the public
For the most current information, please check the events website: http://www.coloradocollege.edu/newsevents/calendar/
Duo Esprit Ann Marie Liss, harp Basil Vendryes, viola Tuesday, April 16 ~ 7:30 pm
Bluegrass Ensemble Benefit Concert Keith Reed, Mike Bub, Shad Cobb, Bradford Folk, Chris Henry Wednesday, April 17 ~ 7:30 PM $15 general admission; CC students free at the door with ID Tickets may be purchased in advance at the Worner Desk, or at the door ARMSTRONG HALL
Tiger Jazz Band Tom Taylor, director Wednesday, April 24 ~ 7:30 PM
Summer Music Festival Intermezzo Series An Evening of Elegant Chamber Music Mozart, Beethoven and Brahms Scott Yoo, violin Toby Appel, viola Michael Thornton, horn Susan Grace, piano Thursday, April 25, 6:00 PM, Packard Hall For ticket information, call 719-389-6552 CC students free with ID
Colorado College Choir Deborah Teske, director Friday, April 26 ~ 7:30 PM SHOVE CHAPEL
Please turn off all electronic devices during the performance